Page 8-Thursday, May 13, 1982-The Michigan Daily

ine ivianningo uriot ciety, for te niru year in a row, wili perform tneir unique obend o Manuingo and American
music at the Michigan Union Ballroom. The show will start at 9 p.m. on Friday, May 14. At 4 p.m., Jali Foday Musa
Susa, the leader of the group, will perform a free solo recital on the lawn between the Michigan League and the Modern
Languages Building. For more information on the concert, call 763-6922; for information on the recital call 763-5924.
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<FR I-7:00, 9:00 (R)

Records-
The dB's -'Repercussion'
(Albion import)
It may well be a telling irony of the
current industry that one of the most
pleasantly American records I've
heard in a while is only available as an
import.
I can well imagine this situation
exists because the record company
execs only gave Repercussion one
listen before passing it over for a tape
from some tailormade leatherboy
heavymetal band. I myself, rabid pop
fan that I am, couldn't have given two
cents for it either way after the first two
listenings. But on the third listen,
something clicked and I found that I
knew all about the melodies and the
most important lines . . . and I didn't
even think I'd been paying that much
attention. In short, I was
hooked ... bad.
It probably took me so long to
recognize the beauty of this record
because I'm not accustomed to pop
being this plaintive. Some of this record
is so sentimental that it's just this side
of funereal. But through and through, it's
also pure and genuine pop classicism,
shot through with motherlode veins of
blue-eyes soul, psychedelia, rockabilly,
and British invasion. The dB's are one
of the few current pop bands who can
not only lay genuine claim to The
Beatles' sound, but to their scope as
well.
And at the final reckoning, it's damn
near cathartic in its own strange,
voyeuristic way. It leaves you with
much the same good feeling you get
from letting someone cry on your
shoulder.
Maybe it's just that I always thought
pop music had to be made by angels.
Though the dB's may sing like altar
boys, it's clear that they've seen too
much to be anything but realistic. And
how long has it been since you've heard
pragmatism in pop music?
-Mark Dighton
Xavier - 'Point of Pleasure'
(Liberty)
Oh what a difference a P-Funk can
make. Xavier's "Work That Sucker to
Death" is far from being just another
slice of everyday funk, but the support
of George Clinton and Bootsy Collins
guarantees it to be the magical,
historical moment that it is. Even bet-
ter, their inspiration carries over to the
other tunes on this album, helping
Xavier to combat the spreading ooze of
candy-coated pop-funk with a lovably
nasty musical sensibility and a sar-
castic lyrical edge.
Likewise, in the finest P-Funk
tradition, every single song on this
record is devoted to the joys of schtup-
ping, particularly of the variety where
you can read love in between the lines,
but only if you've got keenly
imaginative eyesight. All moralizing
aside, this record is consumed in
celebration of the bodily pleasures of
copulation, rendered in as many clever
metaphors as possible without ever get-
ting so poetically deep. . . or maybe I
should say profound . .. that all the fun
is taken out of it.
I wouldn't say this is a perfect record,
but half of it blows the competition right
out of the water. Yep, Uncle Jim always
comes through when you need him.
-M. D.

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